World Music

World music

The term world music includes Traditional music (sometimes called folk music or roots music) of any culture that are created and played by indigenous musicians or that are "closely informed or guided by indigenous music of the regions of their origin," including Western music (e. g. Celtic music). Most typically, the term world music has now replaced folk music as a shorthand description for the very broad range of recordings of traditional indigenous music and song from around the world.

The term has been credited to ethnomusicologist Robert E. Brown who coined it in the 1960s. The term became current in the 1980s as a marketing/classificatory device in the media and the music industry, and it is generally used to classify any kind of non-Western music.

In musical terms, world music can be roughly defined as music that uses distinctive ethnic scales, modes and musical inflections, and which is usually (though not always) performed on or accompanied by distinctive traditional ethnic instruments, such as the kora (West African harp), the steel drum, the sitar or the didgeridoo.

There are several conflicting definition for world music. One is that it consists of "all the music in the world", though such a broad definition renders the word virtually meaningless. The term also is taken as a classification of music that combines western popular music styles with one of many genres of non-Western music that were previously described as folk music or ethnic music. However, world music does not have to mean traditional folk music, it may refer to the indigenous classical forms of various regions of the world, and to modern, cutting edge pop music styles as well. Succinctly, it can be described as "local music from out there", or "someone else's local music".

Examples of popular forms of world music include the various forms of non-European classical music (e.g. Japanese koto music, Indian raga music, Tibetan chants), eastern European folk music (e.g. the village music of the Balkans) and the many forms of folk and tribal music of the Middle East, Africa, Asia, Oceania and Central and South America.

The broad category of world music includes isolated forms of ethnic music from diverse geographical regions. These dissimilar strains of ethnic music are commonly categorized together by virtue of their indigenous roots. Over the 20th century, the invention of sound recording, low-cost international air travel and common access to global communication among artists and the general public has given rise to a related phenomenon called "cross-over" music. Musicians from diverse cultures and locations could readily access recorded music from around the world, see and hear visiting musicians from other cultures and visit other countries to play their own music, creating a melting pot of stylistic influences.

While communication technology allows greater access to obscure forms of music, the pressures of commercialization also present the risk of increasing musical homogeny, the blurring of regional identities, and the gradual extinction of traditional local music-making practices.

Although it primarily describes traditional music, the world music category also includes popular music from non-Western urban communities (e.g. South African "township" music) and non-European music forms that have been influenced by other so-called third-world musics (e.g. Afro-Cuban music), although Western-style popular song sourced from non-English-speaking countries in Western Europe (e.g. French pop music) would not generally be considered world music.

Paris is one of the great European capitals for world music. For many years, the city has attracted numerous musicians from former colonies in West Africa and North Africa. This thriving scene is aided by the fact that there are many concerts and institutions that help promote the music.

Algerian and Moroccan music have an important presence in the French capital. Hundreds of thousands of Algerian and Moroccan immigrants have settled in Paris, bringing the sounds of Amazigh (Berber), raï, and Gnawa music. Algerian raï also found a large French audience, especially Cheb Mami.

The West African community is also very large, integrated by people from Senegal, Mali, Ivory Coast, and Guinea. They have introduced manding jeli music, mbalax and other styles.

The origins of the term World Music in relation to the selling of this type of music began in 1982 when World Music Day (Fête de la Musique) was initiated in France. World Music Day is celebrated on 21 June every year since then. On Monday 29 June 1987 a meeting of interested parties gathered to capitalise on the marketing of this genre. Arguably popular interest was sparked with the release in 1986 of Paul Simon's Graceland album. The concept behind the album was to express his own sensibilities using the sounds which he had fallen in love with listening to artists from Southern Africa, including Ladysmith Black Mambazo and Savuka. But this project and the work of Peter Gabriel and Johnny Clegg amongst others had to some degree introduced non-western music to a wider audience and this was an opportunity which could not be ignored.

Before 1987, although World Music undoubtedly had a following and with this potential market opening up, it was difficult for interested parties to sell their music to the larger music stores; although specialist music stores had been important in developing the genre over many years, the record companies, broadcasters and journalists had been finding it difficult to build a following because the music itself seemed too scarce. They were eyeing the Jazz and Classic markets, watching them develop a cross-over audience and decided that the best way forward would be to collective strategy to bring the music to a wider audience.

The first concern of the meetings was to select the umbrella name that this 'new' music would be listed under. Suggestions included 'World Beat' and prefixing words such as 'Hot' or 'Tropical' to existing genre titles, but 'World Music' won after a show of hands, but initially it was not meant to be the title for a whole new genre, rather something which all of the record labels could place on the sleeves of records in order to distinguish them during the forthcoming campaign. It only became a title for the genre after an agreement that despite the publicity campaign, this wasn't an exclusive club and that for the good of all, any label which was selling this type of music would be able to take advantage.

Another issue which needed to be addressed was the distribution methods which existed at the time. Most of the main labels were unhappy with the lack of specialist knowledge displayed by sales persons which led to poor service; there was also a reluctance amongst many of the larger outlets to carry the music, because they understandably liked larger releases which could be promoted within store. It was difficult to justify a large presentation expense if the stock going into stores was limited.

In an unprecedented move, all of the World Music labels co-ordinated together and developed a compilation cassette for the cover of the music magazine NME. The overall running time was ninety minutes, each package containing a mini-catalogue showing the other releases on offer. This was a smart move as NME readers are often seen as discerning listeners and it was important step to get them on board.

By the time of that second meeting it was becoming clear that in order for the campaign to be successful, it should have its own dedicated press officer. They would be able to juggle the various deadlines and also be able to sell the music as a concept to not just the national stations but also regional DJs who were keen to expand the variety of music they could offer. They were seen as a key resource as it was important for 'World Music' to be seen as something which could be important to people outside London - most regions after all had a similarly rich folk heritage which could be tapped into. A cost effective way of achieving all this would be a leafleting campaign.

The next step was to develop a World Music chart, gathering together selling information from around fifty shops, so that it would finally be possible to see which were big sellers in the genre - allowing new listeners to see what was particularly popular. It was agreed that the NME could again be involved in printing the chart and also Music Week and the London listings magazine City Limits. It was also suggested that Andy Kershaw might be persuaded to do a run down of this chart on his show regularly.

Another factor to raise the profile of world music was the founding of the Real World Records label by Peter Gabriel in 1988. His well-known name brought attention of the artists whose work he released, such as Pakistani qawwali singer Nusrat Fateh Ali Khan. A. R. Rahman, a Sony BMG music artist from India is a well-known World Music Artist.

Today, mainstream music has adopted many of the features of world music, and artists such as Shakira and the members of the Buena Vista Social Club have reached a much wider audience. At the same time world music has been influenced by hip hop, pop and jazz. Even heavy metal bands such as Tool and Nile have incorporated world music into their own. Some entertainers who cross over to recording from film and television will often start with World music; Steven Seagal is a recent example.

World music radio programs these days will often be playing African hip hop or reggae artists, crossover Bhangra and Latin American jazz groups, etc. Public radio and webcasting are an important way for music enthusiasts all over the world to hear the enormous diversity of sounds and styles which, collectively, amount to World Music. The BBC, NPR, and ABC (Australian Broadcasting Corporation) are rich sources for World Music where it is possible to listen online as well as read about the artists and history of this genre.

Some musicians and curators of music have come to dislike the term "world music". To these critics, "world music" is a parochial, catchall marketing term for non-western music of all genres. On October 3, 1999, David Byrne, the founder of the Luaka Bop music label, wrote an editorial in The New York Times entitled I Hate World Music explaining his objections to the term. Byrne argued that the labeling and categorization of other cultures as "exotic" serves to attract an insincere consumership and deter other potential consumers.

World music awards are awards presented by broadcasting organizations such as the BBC (see BBC Radio 3 Awards for World Music) and others to world music artists. The BBC presents awards every year. The hosts for the Awards for World Music 2005 Poll Winners' Concert were Eliza Carthy and Benjamin Zephaniah.

The United States network LinkTV has a show called "World Music" which airs at least ten times per calendar week. Ninety-two episodes have been aired since the beginning of 2005.

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Rainforest World Music Festival

The Rainforest World Music Festival is an annual 3-day music festival celebrating the diversity of "world music", held in Kuching, Sarawak, Malaysia, with daytime music workshops, cultural displays, craft displays, food stalls, and main-stage evening concerts. It is now one of the largest musical events in Malaysia with a total weekend audience approaching 30,000.

The festival features a wide range of performances from traditional music, to world fusion and contemporary world music. The festival emphasizes the use of traditional acoustic world instruments, although electric accompaniment instruments are common. Invited performers are prominent artists from Sarawak, other provinces of Malaysia, surrounding countries, and from around the world. Groups that have performed at the festival in the past include: Joey Ayala (Philippines - 1998), Shooglenifty (Scotland - 1999), Inka Marka (South America - 2000), Rajery (Madagascar - 2001), Black Umfolosi (Zimbabwe - 2002), Huun Huur Tu (Tuva - 2003), Te Vaka (Samoa/New Zealand - 2004), Namgar (Mongolia - 2005), Peatbog Faeries (Scotland - 2006), Tarika Be (Madagascar - 2007), and Ross Daly (Greece - 2008).

The Festival was the brainchild of Randy Raine-Reusch, a world music instrumentalist from Canada and fellow Canadian Robert Basiuk (the Marketing head of the Sarawak Tourism Board at the time). They approached the Society Atelier of Sarawak, an organization supporting the traditional arts, which fully embraced the idea. The Society Atelier undertook the initial planning and laid the groundwork for the festival. When approached to assist, The Sarawak Tourist Board took over the planning and greatly enlarged the idea. The Sarawak Tourist Board still runs the festival to date.

The festival held its first show in 1997 and celebrated its 11th anniversary in 2008.

The festival is held on the grounds of the Sarawak Cultural Village nestled against the base of Mount Santubong, about 35 km. north of Kuching. The festival runs workshops (mini concerts) in the afternoon followed by evening performances held on the two main stages in the village. The festival usually features from 18 to 20 bands through the weekend.

The atmosphere is very relaxed. Although there are timetables for the workshops and evening performances, visitors are free to enter and leave any event at will. The daytime workshops are held inside various traditional houses in the village, where the performers and leaders of the events are often on the same floor-level as the audience, allowing them to get up close to the performers. There are also no restrictions in communicating with the performers, and the musicians themselves sometimes encourage conversation, especially if it is regarding the topic of the workshop they are running or about the traditional instruments they use. Artists are also not hidden behind barriers at the festival and can seen walking through the site throughout the duration, allowing the audience axis to them at any time.

The book "Music without Borders" written by Heidi Munan, was commissioned by the Tourism Board to commemorate the 10th anniversary. With a limited publication of 5000 copies, this lavish publication featured many interviews and colour photos of the event. It however received criticism for its lack of a balanced view of the entire Festival. Some thought that it was more of a propaganda piece, and only contained subtle references to the festival short-comings and no comments on what could be done better or differently.

A variety of food stalls throughout the site feature a variety of local and regional Malaysian cuisine and other Asian cuisine. Although alcohol was available for many years in a number of venues, the festival is taking steps to control its availability due to some official complaints. This has been met with mixed reviews from the public.

During the 2007 festival there was a notable increase in security in and around the festival to prevent people from entering with false tickets or causing trouble. At the entrance visitors must present their tickets and then be given an official wrist band which has a security UV strip.

Metal detectors are also used to scan each visitor and backpacks and bags must be presented to the staff at the front gate to be searched. New to the additional security were guard dogs around the cultural village used to discourage the smuggling of drugs and narcotics into the festival.

The Rainforest World Music Festival may be having some growing pains, as it is clearly reaching the limit of its site. The festival was sold out two of the three nights in 2008, and many frustrated fans were turned away at the gate. Hotels in the region are receiving bookings a year in advance, but fortunately local guest houses are becoming more common. Although there is bus transportation to and from the site, many locals still insist to drive their cars and become irritated with the lack of parking. Yet the festival continues to grow and attracts an audience from around the world.

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Gnaoua World Music Festival

The Gnaoua World Music Festival is a Gnawa music festival held annually in Essaouira, Morocco.

The festival provides a platform for exchanges and a meeting point of music and dialogue between foreign artists and the mystical Gnaoua (also Gnawa) musicians. In this melting-pot of musical fusion, the Gnaoua masters invite players of jazz, pop, rock and contemporary World music to explore new avenues.

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